Exhibition by Chicago Portrait Painters.pdf

8/12/2019 Exhibition by Chicago Portrait Painters.pdf

1/8

Exhibition by Chicago Portrait Painters

Source: Fine Arts Journal, Vol. 36, No. 11 (Nov. - Dec., 1918), pp. 34-40Published by:Stable URL: http://www.jstor.org/stable/25587603.

Accessed: 16/06/2014 09:17

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at.http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of

content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms

of scholarship. For more information about JSTOR, please contact [email protected].

.

http://www.jstor.org

This content downloaded from 115.186.35.62 on Mon, 16 Jun 2014 09:17:41 AMAll use subject to JSTOR Terms and Conditions
http://www.jstor.org/stable/25587603?origin=JSTOR-pdfhttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/stable/25587603?origin=JSTOR-pdf


2/8

A~~~~~~~~~~~~~~~~~~~~~~~~~~~~~A

GERTR? UDE -Courtcsy Carson. Pirie. Scott c. co.B y Ch riistian Abraham son

http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp


3/8

e,~~~MURAL DECORATION FOR LIEUT. FIAMMOND'S CABIN OFFICE,AVIATION BEACH, GREAT LAKES NA1VAL TRAINING STATIONPainted bY Frederic M. Grant -Courtesy Carson-. Pirie, Scott & Co.

Exhibition by Chicago Portrait PaintersBy THE EDITOR

IF THERE is any field of art wvherein thepainter has an opportunity to leave amessage to posterity that field is certainly

portraiture. Commissions for such worksare not given save by families capable ofmnaintaining their traditions or in the caseof public meni wvhose portraits will be preserved for their historic value if for noother reason. This probably accounts forthe fact that this branch of art always attracts themost gifted of painters.

A portrait show too has a double interest, not only the fascination of art btut thehumlan interest are here a potent attraction.It was wvith this idea in view and becauseof a desire to encourage the placing of commilissionls locally that theGalleries of CarsonPirie Scott & Co. staged an event uniquein the annals of such establishments.

This show certainly raises the standardof the department above all suggestion ofcommlercialism in art for here thcre was

PORTRAIT OF A LADYBy Oliver Denvett G rove-Cour tesy Coa son. Pi ie, Scott dC C o.



4/8

Pagc Thirty-six EXIHIBITIOAN CHICAGO PAINTERS

*1

M1ADAME ALLA RIPLEY -Courtcsy Carson, Pirie, Scott (C Co.By Anna Lee Stacey

notling strictlyofferedfor sale, nearlyeveryworkbeing thepropertyf the itter.Undertakinig o secure commissions eingsuch an arduous and tedious task any gallery that attempts itmay be said to be doingsome missioinary work for the general goodof art. So this slhow will pass inlto localart history as a genuine and generous endeavor on the part of the management tointerest our ptublic in our artists and theirclaims to favor.

The list of exhibitors was a very choice

one, embracing only the best among Chicago portrait painters, Pauline Palmer,Anna Lee Stacey, Oliver Dennett Grover,Frank A. Werner, Wellington J. Reynolds,E. Martin Hennings, Christian Abrahamsonl,Cecil Clark Davis, Arvid \Nyholm, atlBartlett, Indiana Giberson and Will Hollingsworth were the painters invited, withAlbin Polasek, Emil Zettler and Emory P.Seidel representing sculpture, and Mary G.Hess Buehr, miniatures. Thirteeincanvases, 12 busts and a case of miniatures



5/8

EXHIBITION CHICAGO PAINTERS Page Thirty-seven

OLD FASHIIONFD, GOWN -Courtesy Carson?L Pirie Scott cCCo.By Pauline Palmer

comprised the exhibition which was remiiarkably well selected, assembled andlhung, giving proper space and importanceto each work. M\any of the pictures indleedapp)earedl to better advantage thani whenshown formerly at national exhibitions andotlher important ftinctions, as arrangemenithadl been made for the proper lighting ofeach.Pauling Palmer's w o rk, "The OldGown,' showedl to splendid advantage, itsl)icturesque beauty of quainit attire andfresh younig loveliness being fully appreci

ated by all who attended the showv. PatiBartlett s portrait ofMiss WNVebberlsD tookon new charms, for the ivorywhite touclhesseemed to comiieotut in sharper contrast tothe blacks here than when itwas showNvIlttheArt Institute. This is really a very finecombiniationi of the decorative ancl the realistic for while it bears every evidenice ofbeinog a true likleness of a real personi, it isso charminlgly and graceftlly arranged asto be a stuInIiIngdecoration, pleasing to allwvhetlher- rienidsof or conmplete strangers tohis sitter. The blue blacks of the velvet

This content downloaded from 115.186.35.62 on Mon, 16 Jun 2014 09:17:41 AM

All use subject to JSTOR Terms and Conditions


6/8

Page Thirty-eight EXHIBIT ION CHICAGO PAINTERS

CHIEF JUSTICE HARRY OLSENBy Christiaot Abrahamsen-Courtesy Carson, Pirie, Scott ( Co.

gown and Japanese tapestry backgroundwith its touches of light embroidery, makea wonderful setting for the golden, roseanld ivory beauty of thepretty blonde youngwoman. The graceful curve of the back ofthe white chair in which she is seated isalso a pleasing note in the composition andthe whole thing is replete with the eleganceof true taste as the starting point of a goodportrait.

Annla Lee Stacey's portrait of M\IadameRipley is a master stroke, for she hias preserved to perfection the agreeable, geniall)ersonality of her sitter, caught her characteristic expression in the pleasant curves ofthe lips, the tranquil brow, the kindly eye.It is indeed a splendid likeness and it hasrealized all the finest possibilities of thelady. Something about it recalls Nattier'spaintings of the elegant French noble

women of the days of "'Louis'XV, but';erhaps this is only accidental, as Mladame'sskin, eyes and coloring are similar to thatof some of his great' ladies. The ma-nnerof dressing the hair also heightens this suggestion, and the costume is stately yetsmart wvith its picturesque transparent furtrimmed sleeves revealing the white roundarms. The arrangement of thework in lowtones with the figure against a dark background is well considered tending to" enhance the beauty of the sitter's fine, smoothskin. The handling is characteristic ofMrs.Stacey at her best, the technique adequateand fluent and the color scheme of a dignitysuited to the subject.

Oliver Dennett Grover compasses a clever feat in presenting an animated ladywhose sparkling smile retains something ofthe evanescent quality which makes thesesunbeams from the soul so fascinating inreal life. His portrait is higher keyed thanmost of those in this show and would be afine bit of light, life and color in some richtoned nterior.Frank A. Werner contributes a very serious work of art in his portrait of Mr.Francis Russell, with a quaintly decorativetouch of color in the green majolica Orienital duck on the table beside which the fineelderly gentleman is seated. One likes theduck, it someway relieves the gravity of thescheme and suggests a gleam of humor anda love of object d'art on the part of thesitter.Wellington J. Reynolds' portrait of MIrs.

Maude Martin Evers is full of good colorand ornate detail. The lady looks out onthe world with a direct, frank, inquiringgaze that holds attention. This picture ismore broadly handled than many of theothers in the room and perhaps f r thatreason seems to stand out among them.

E. Martin Hennings does the dark tonalportrait to perfection with a quality aboutit that presages genius. The head of thedistinguished sitter is beautifully painted,



7/8

\-1A 1Y T I 0 \ CH I CA G O P i/N T lE S Pagye liurtv-ninethe artist having realized to the full all thesubtleties of expressioni onl the face of a

mal of many-sided mind, genitle yet stronig,sympathetic anid hlutmor-otus,omiipaniioniablel)ut of great dignity.Chrl-istiani brahamson's contributions areboth notevorthy, the l)ortrait of Clief Jtustice Harry ()lson being in the niature of astate (locumiiienit. It is very poetically han(lle(I with a grace anld skill that are Abrahamson's own and(I the l-eslhtonlesai-e essenItiall) veraciotus. His )ortrait of Gertrude,herewith relprodtuce(l, is absolutely sp)eakilng. WVe feel the \ordls formiinig ni lher lip,see the light of conivel-satiolnal cross fire inlher-ve and sense the animllationi f hiermiiindin every soft shadow and( geentle light upl)Onhier yotiiig face. This is poetry in p)aint ngyas buit few can-iaclieve it. The color islovely, a coral clhair back contributing abright nlote to the sclhemlle nd(I there is alsoa finie Iluiniiiosity'about the work that fascinates, mvstifies ani(l forever invites onie toseek for the sl)irit of it all.Arvid Nyholm lhas a clevrer self-portrait(lonie in warm netutral tonies that is interestinlg and1(lmltuclh )raised by fellow l)ainters

whSlio nly realize to the full the (lifficultyofsticlc a Iperformance. \W"ill 1lollingsworths'l)ortrait of the l)oetW\ill Comiifort is ani0 ckaff-Tair, little suggestive of the l)oster, yetfuillof individulality 1nd compellinog attelltioIn.

Indliana (Jiberson, who is truly remarkable for the possession of style, that iicdefiinable somiietllingwhich marks the great inart-ts hlererel)resente(l ith a child sttu(ythlat isworthy of her. Th'lec olol- is r-ich nibeautiful, the pigmient (leel) anlCIfat and thetreatment generally mio-e ser-iotis thiani inImlost lhild stud(1ies. It is indclee(d work recallinog the imiasterswN,ith somiiethlinigboutit that makes onie feel it wvill live. \l ss(;iberson is acknowledged as a color-ist an1(dthe possessor o f a strong alrtistic persoIIalitv.

Cecil Clark Davis shows the two hligl

D R. IV. 1_ P it,1, NGE PiJ; Emwil Zettl ic-C ou t(cSlJ C (1? UPu irc5(e. t ( ( o.

achiievemilenits f hiei-biillimait carirci. Thegirl wvith the red bow tie hais thlat essenitialpictures(lqte qtualitv which makes a workpop)llar for all timie, the pleasillg clnsemblethat hias imaclie he Duchess of Devonshireand Tlhe Girl WNVithhe AMuff"-famiotusnd(Iin (leman(ll always for rel)ro(luction. Herportrait of the artist Christian Akbraharnsonis iutcli like themilani nidl ni appreciation ofhiis p)ictulresque anil p)oetic l)eauty. It, too,has thatwell composed decorative clharacter\VhiCh make a l)ictulre welcome everywhereand always.

Th-e miiiittiires of Mrs. Butiehrare worthyof a chiapter in themselves, for sihe excelsin this (lelicate, intricate art of the minut'

Many of hier- orks are, however, simlall inIacttial dimiienisionis illy for the l)ortrait oflhermilothier nd otler 0 fl hie miniattires arebig achievements. Slhe l)aints clhildrenlanid

This content downloaded from 115.186.35.62 on Mon, 16 Jun 2014 09:17:41 AMAll use subject toJSTOR Terms and Conditions
http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp


8/8

Page ForlY 1EYI-IIBITIO (C-HICAGO PJINVTIERS01(l \woillel1 dleightfuIIly with the lovingtotIClc that Shows a Syml)athetic nature. l-I:ercase of these ex(ulisite trinikets seemiis likea casket of jewels, as ind(leedl hey are, and(I(lestinie(l fol tIle m11ost luxuriOuS associatioHis.lbbn I olasek varied his 1)rilliait andmasterlyN brolnzes \vith a has r-elief, or halfrotulndi)ortrait, ill a1nliclhedIpanel,gil(ld(e andcolored like somie old altar piece. This portra-it f MIiss Tiffany wvas uili(Itie btit beaultiful, united to the l)lastic perfection of hiismo(lelillg, the charm of riclh tolne anild( lecoration1.Emil Zettler showed clhastemarbles, r-iclhwoo(l carvilingsand1(1 finie tust in terra cottawith colored glazes. l Lismicarbles have afltuenit eelin,g ain( a soft \VaXVfinish thatis VerY (lelighlItfuIl,lis terra cotta is uInuLIsuIaIlan(l decorative but his vork in \woodl isadorable. Hterc inidlee(dhe ismaster, aIs thelittle head of a childcI n thilsShow serves toes-,tablish.

Spea-tking of cildi(I portraiture in sctilpture, nioolne excels Emory P. Seidlel, whviosebaby heads are as masterly as they are lovable. It takes timilend sttLid to gro\V to aftullapl))reciation of Illswork so full is it ofthe soft subtleties of infancy, so l)erfect istile continluity of tibougilt a(ln of lillneasplanc iielts ilito l)lane ill olne complete liarmony. At fir-sthle charms with the slilmplicity of Ills style and fi(lelityof hlis observation, but in the end(l if olnC colsid(leis hlis\Vork serIiously hie amazes wvith the thiorouuhnImess n(l sl)irit of it.:\nl exhibition of this kind is quite aeducation i l)lortraitures and shldoti(I leavean1 im,press on1 the lIublic mind tltat willshow results in the fut-ure.inasmuch as the artist is so closely associatedl with this firm-l e illustrate also inconiniectionwith tilis review lredlerickMAl.( ;rant's tiini(Iue and graceful murtii-al exectutedIas an over-mantel (lecorationi for Lieut.H1ammondI's cabin ol-ice, Great LakesNa-tval Training Station. H-ferc isa l)leasinigcolnceit stuite(l to the lhaiuintsf sea (logs,

DI. JlTDSON 'IT'ITS1VORIllH.J1, 5. 311I-tU?l I.-C7l11i'){S-C our t(s Car'wn. PUi ie, U ( ,C .

clml)o(lvilng in OllC caim as the oldest le-el(lsof thc (lel) aind the latcst (levelopments ilnaval air criaft. In this connection tileartist Ui\NCs a \vNllimSiiical in(l himorotis iyeasonl for placinllg the milerilmaidls n the fol-cgroulidl andl the Sca l)lpines o the fair lhoizon: sty e inImlleiallialds nlever challge, lhesays, the type having become standardizedcenttuie s sincc, wherlleCas styles in sea planeschange so rapidly that the newest type isobsolete in a few \wreeks.This dloes well enotigh for a pleasantry.but as a milatter of fact hiis artistic inlstinlctshave gonle (leel) ilto the p)syclcolog)y of therace andi wNith tiluerinig taste placed roalice befor-c scienice, fancy before reaclity,Which is ever the purpose of art. This picture with its (leel) sea bluies is especiallyeffective in its (lesigiecl locationi over amantlepiece of flat black tile in a roomilfiinishie(i in \vhiite calimel and lhtiuign scarlet,i-eproducing the (die ulx\e abin of a wvar shipor liner.

This content downloaded from 115.186.35.62 on Mon, 16 Jun 2014 09:17:41 AM
http://www.jstor.org/page/info/about/policies/terms.jsp

Documents

Exhibition by Chicago Portrait Painters.pdf